Hill

thy Mehegan and Joanna Miles, both originally
from Ireland and of the Roman Catholic faith.
The union was a happy one. He took enjoyment
in endowing on account of his wife a seminary
at St. Paul for the education of students pre-
paring for the Roman Catholic priesthood. Of
his ten children, seven girls and three boys, all
but one daughter who died in infancy were liv-
ing when he died, after a short illness, on May
29, 1916. His widow died on Nov. 22, 1921.

[Historical facts have been taken in the main from
J. G. Pyle's authorized biography, The Life of James
J. Hill (2 vols., 1917), and Who's Who in America,
1916-17. Comments on Hill's philosophy of manage-
ment and personal characteristics are based on per-
sonal interviews by the author of this sketch in 1916.
Further references are: Hill's own Brief Hist, of the
Great Northern Ry. System (1912) ; B. H. Meyer, "A
Hist, of the Northern Securities Case," Bull, of the
Univ. of Wis.t Econ. and Pol. Sci. Ser., vol. I, no. 3,
July 1906 ; 9. M. Sullivan, The Empire^ Builder (1928);
St. Paul Dispatch, May 29, 1916; Minneapolis Morn-
ing Tribune, May 30, 1916.] W.J. C.

HILL, JOHN (1770-1850), engraver, was the
English-born founder of a family of American
artists. He made his mark as an engraver in
aquatint in London, his birthplace, where his
best plates were executed after paintings by Tur-
ner and Loutherbourg. He was forty-six when,
in the summer of 1816, he emigrated to America
and settled in Philadelphia. He arrived oppor-
tunely in the young Republic, for art, which
until after the Revolution was closely associated
with portrait-making, was just beginning to take
cognizance of the New World's wealth in natu-
ral beauty, and the first signs were showing of
a developing landscape school and of a vogue for
reproductions. Here was scope for the aquatint
engraver. Hill's work, together with that of his
compatriot, W. J. Bennett, who came at about
the same time, marked, according to Weiten-
kampf (American Graphic Art, p. 102), the
culmination of a short period of successful prac-
tice of aquatint in America. In 1819 Hill sent
for his wife, Ann (Musgrove) Hill, and his son,
and soon after their arrival he removed with
them to New York, which was his home for the
rest of his active professional life.

Hill's earliest work in America comprises a
series of small magazine plates in black-and-
white, including his views of Richmond, Va.,
and York Springs, Pa. Later he engraved a
series of much larger plates which he colored by
hand, "Picturesque Views of American Scenery,"
after paintings by Joshua Shaw. Weitenkampf
notes as evidence of craftsmanship the use of a
much coarser, more open grain in these plates
than in the earlier series of smaller size. Known
as the Landscape Album, this series was pub-
lished by Carey of Philadelphia in 1820 and re-

Hill

published in 1835 by Thomas T. Ash of the same
city. Weitenkampf calls attention to the exis-
tence of an earlier state of the engraved title-
page bearing the date 1819 and the name "Moses
Thomas" in place of Carey, which would seem to
indicate a transfer of publishers before the plates
were issued. Hill paid tribute to the grandeur
of the "American Rhine" in a set of still larger
plates entitled the Hudson River Portfolio, which
he aqttatinted after watercolors by W, G. Wall.
The series was published in 1828 by Catlin of
New York and was reissued by Henry I. Me-
garey. Owing to some renumbering of the plates
this group has become "the despair of the col-
lectors."

About 1836, when the popularity of aquatint-
ing had waned, Hill retired to a lonely upland
farm on the Nyack turnpike, thirty-five miles
from New York and a half mile from the village
of West Nyack. Here he died fourteen years
later. His son, John William Hill—a painter as
well as an engraver, and leader of the Pre-
Raphaelite school in America—and later his
grandson, John Henry Hill, carried on the fam-
ily tradition into the twentieth century. In 1901,
when Weitenkampf visited the farm-studio, the
walls were hung with prints and paintings trac-
ing the development of three generations of art-
ists. One of Hill's grandsons was the mathe-
matical astronomer, George W. Hill [q.v.].

[Frank Weitenkampf, Am. Graphic Art (1912), "Am.
Scenic Prints," Internal. Studio, July 1923, and "Hack-
ensack Disciple of Ruskin," N. Y. Times, Supp., Dec.
8, 1901; D. McN. Stauffer, Am. Engravers upon Cop-

u, J.yv_ii , j_/. IVX^AN . kjuauix^x, firrii. ±j*ri>yr u>uer 4 wiyvw i/isj'
per and Steel (1907), I, 126-27, II, 221-27; "John
Hill, Aquatinter, and His 'Landscape Album,*" Bull
of the N. Y. Pub. Lib.. June 1920; C. W. Drepperd,
Early Am. Prints (1930) ; John Henry Hill, An Artist's
Memorial (1881).] M.B.H.
HILL, JOHN HENRY (Sept. n, i»i-July
I, 1882), foreign missionary and educator, was
born in New York City. At the age of sixteen he
graduated from Columbia College and embarked
on a mercantile career. In 1821 he married
Frances, daughter of John W. Mulligan of his
native city. After twenty years spent as a busi-
ness man, he entered the Protestant Episcopal
seminary at Alexandria, Va., and in 1830 was
ordained priest in Norfolk by Bishop Richard C.
Moore. An enthusiastic Phil-Hellenist, he vol-
unteered at once for service on a foreign mission
to Greece, the first established by his church.
He and his wife proceeded immediately to
Athens, arriving as the Greek Kingdom was be-
ing established. They at once opened schools for
both boys and girls—the first schools in Athens
since the expulsion of the Turks. When the
Greek government in the following year pro-
vided for the education of boys, the Hills devoted